The first full-length account of the life and work of Joseph H. Lewis, the noted director of films such as My Name is Julia Ross (1945) and The Halliday Brand (1957). Because most commentators and interviewers have focused on Lewis' contributions to film noir and particularly Gun Crazy and The Big Combo, Nevins tries to give equal time to Lewis' early B westerns and television series episodes, including episodes of The Rifleman and Gunsmoke that he directed at the end of his career. Nevins's narrative is interspersed with Lewis's own reflections on his life and career, adding a personal element that enlivens the text. A detailed filmography includes Lewis's editorial work, feature films, and episodes of TV series.

From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves's career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.

Refocus: The Films of Amy Heckerling is the first book-length study of the work of Amy Heckerling, the phenomenally popular director and screenwriter of Clueless and Fast Times at Ridgemont High. As such, the book constitutes a significant intervention in Film Studies, prompting a reconsideration of the importance of Heckerling both in the development of Teen cinema, and as a figure in Hollywood comedy. As part of the Refocus series, the volume brings together outstanding original essays examining Heckerling's work from a variety of perspectives, including film, television and cultural studies and is destined to be used widely in undergraduate teaching.

Michael Powell was introduced to film relatively late in life, and feeling dissatisfied with what British films had to offer, he took his primary influences from American and German films. Emeric Pressburger was a Hungarian emigre who was educated in the German film industry before fleeing from the threat of the Nazi party. These two men of diverse backgrounds would successfully collaborate on 16 films over a period of fifteen years, most often with their identities united as the Archers. The Archers' collaboration began during World War II, where they attempted to identify the causes for which thousands were dying. Following the war, their focus was on art and why it was worth dying for. The results were such classics as Black Narcissus, The Life and Death of Colonel Blimp, The Red Shoes, and The Tales of Hoffman. The Archers' popularity waned in the mid fifties when the two men seemed to lack focus. Never popular with British critics, they ended their career with a pair of mediocre films that seemed to be shadows of their previous successes.

Malcolm St. Clair was a master director of sophisticated silent comedy. This book traces his career, from his start as a Mack Sennett Keystone Kop, through the action-adventures of the early 1920s, his work with Buster Keaton, the grand and elegant sophisticated comedies for Paramount in the '20s (Are Parents People?, The Grand Duchess and the Waiter, Gentlemen Prefer Blondes, and The Canary Murder Case), his transition to sound films, and the comedies for 20th Century-Fox. Includes a 16 page photo insert.

To the American public, she will always be remembered as the woman who had a grapefruit ground into her face by James Cagney in the 1931 film classic Public Enemy. In fact, in an acting career that spanned nearly four decades, Mae Clarke appeared in nearly 100 feature films and logged in nearly as many television appearances. During the two years before she died at the age of 82, Mae Clarke spent many hours reliving those years. In a series of candid and often poignant interviews, she talks about her years in Hollywood, her failed marriage, and her health problems.

This reference work presents the full range of the filmmaker's artistry (photography, painting and music) through the optic of his films. It is an original work combining all facets of his creation for the first time, bringing a fresh vision of his cinematographic work. At the heart of the book is the exhibition curator Matthieu Orlean's unpublished interview with Gus Van Sant in Portland in June 2015, discussing the whole scope of his work and inspirations through a network of images organized into themes. The work also explores the work of other artists whose heritage Gus Van Sant believes he is continuing: heritage beat, pop, rock, and experimental filmmakers, writers and visual artists like William Burroughs, William Eggleston, Harmony Korine and Ed Ruscha. There is also critical analysis of the many themes Gus Van Sant tackles in his work related to his own personal reflections on life, accompanied by first-hand anecdotes and an in-depth appraisal of the production processes used in each movie, from the experimental shorts of the 70s to Sea of Trees, presented at the Cannes Festival in May 2015, soon to be released in cinemas. The monograph also feature essays by Stephane Bouquet, Benjamin Thorel, Bertrand Schefer and Stefano Boni, who provide their own interpretations of his protean work. Each essay tackles specific aspects of Gus Van Sant's creation through reflections on the heterogenous nature of his methods and approach.

An essential text on filmmaking that every student, scholar, and teacher of films should own. In it, some of the motion picture industry's most important directors including Steven Spielberg, Martin Scorsese, Howard Hawks, Louis Malle, Federico Fellini, Blake Edwards, Francois Truffaut, and Rene Clair answer questions on the decisions that all directors must make before filming a movie, questions that help the reader understand the concept of filmmaking. They cover all aspects of filmmaking including script choices, planning, casting, actor choices, editing, rehearsing, and music scoring. Garnett also elicited vital information on the directors' source of inspiration, how they started their career, their philosophy of filmmaking, and their objectives for making their films."

Andrzej Wajda is considered one of Poland's - many would say the world's - greatest film directors. During the thirty-five years of his activity in film, theatre or television, his work, whether strong or weak, always arouses strong emotions and provokes intense debates in the media. His films deal with historical and political issues concerning Polish character and the nature of political power. Controversial, painful, stimulating and cinematically beautiful, they never fail to fully engage the spectator. This is particularly true for his major political films, which form the basis of the study. Applying Bakhtin's concept of dialogism, the author shows how a creative interaction between the image on the screen and the viewer is established through Wajda's films. At the same time, she offers a detailed analysis of the historical events leading up to the collapse of the Socialist system in Poland. Janina Falkowska graduated in English from the University of Poznan, Poland, and received her PhD from McGill University. She now teaches film at the University of Western Ontario.

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. This book offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to post-war Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a ground-breaking new study of a master of cinema.

'A rule of mine is this', said William Goldman in 1983, 'there are always three hot directors and one of them is always David Lean.' One of the best known and most admired of British film makers, David Lean had a directorial career that spanned five decades and encompassed everything from the intimate black-and-white romance of Brief Encounter (1945) to the spectacular Technicolor epic of Lawrence of Arabia (1962). This book offers comprehensive coverage of every feature film directed by Lean, yielding new insights on the established classics of his career as well as its lesser-known treasures. Its analysis prioritises questions of gender and emphasises the often-overlooked but highly significant recurrence of female-centred narratives throughout Lean's career. Drawing extensively on archival historical materials while also presenting nuanced close readings of individual films, David Lean offers a fascinating and original account of the work of a remarkable British film maker. -- .

In this pioneering investigation into the seldom-studied film culture of colonial Korea (1910-1945), Dong Hoon Kim brings new perspectives to the associations between colonialism, modernity, film historiography, and national cinema. In its attempt to reconstruct lost intricacies of colonial film history, Eclipsed Cinema explores the under-investigated aspects of colonial film culture such as the representational politics of colonial cinema, the film unit of the colonial government, the social reception of Hollywood cinema in relation to emerging Korean nationalism, Japanese settlers'film culture, and gendered film spectatorship. By filling a significant void in Asian film history, Eclipsed Cinema greatly expands the critical and historical scopes of early cinema, Korean and Japanese film histories, modern Asian culture, and colonial and postcolonial studies.

Offering a variety of case studies in which films have been remade across national borders, Transnational Film Remakes provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon. From Hong Kong remakes of Japanese cinema to Bollywood remakes of Australian television, this book interrogates the fluid and dynamic ways in which texts are adapted and reworked across national borders to provide a distinctive new model for understanding these global cultural borrowings.

A clear and insightful analysis of the life and work of American director and coreographer, Stanley Donen.

The cinephile community knows Abbas Kiarostami (1940-2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews, editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members.

Neil Hurley demonstrates Hitchcock's covert preoccupation with spiritual themes conscience, guilt, false accusation, crises as catalysts of character development, personal romance, the salvation of nations, and the "unjustly accused." This last theme is linked in profound ways to Hitchcock's secular Christ types, who find purpose and undiscovered courage and companionship in having to disprove falsely imputed guilt in I Confess, The Wrong Man, Veritgo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy. (The last three also feature feminine Christ parallels who undergo Passion/Resurrection experiences marked with visual religious clues.)

A feminist study of the mood, texture, tone, and multifaceted meaning of director Sofia Coppola's aesthetic through her most influential and well-known films. A Choice Outstanding Academic Title 2019 "With this book Rogers has produced a sophisticated and impassioned analysis of Coppola's work... Rogers's main argument - that Coppola manipulates pleasurable images to unsettle rather than mollify us - is utterly convincing. If nothing else, this certainly hits home in relation to my own enchantment with Coppola's work."-Bright Lights Film Journal All too often, the movies of Sofia Coppola have been dismissed as "all style, no substance." But such an easy caricature, as this engaging and accessible survey of Coppola's oeuvre demonstrates, fundamentally misconstrues what are rich, ambiguous, meaningful films. Drawing on insights from feminist philosophy and psychology, the author here takes an original approach to Coppola, exploring vital themes from the subversion of patriarchy in The Virgin Suicides to the "female gothic" in The Beguiled. As Rogers shows, far from endorsing a facile and depoliticized postfeminism, Coppola's films instead deploy beguilement, mood, and pleasure in the service of a robustly feminist philosophy. From the Introduction: Sofia Coppola possesses a highly sophisticated and intricate knowledge of how images come to work on us; that is, she understands precisely how to construct an image - what to add in and what to remove - in order to achieve specific moods, tones and cinematic affects. She knows that similar kinds of images can have vastly different effects on the viewer depending on their context.... This monograph is an extended study of Coppola's outstanding ability to think through and in images.

Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film. Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.

Theatre and film director Rouben Mamoulian (1897-1987) is known chiefly as a technical innovator and stylist. His stage credits include the original Broadway productions of Porgy and Bess (1935), and Oklahoma (1943); his sixteen completed films include Dr. Jekyll and Mr. Hyde (1931), Golden Boy (1939), The Mark of Zorro (1940), and Silk Stockings (1957). In the theatre, Mamoulian integrated the various contributory arts of the American musical, transforming the near variety-show format of musicals into a dramatic unity of plot, character, music, and dance. He thus opened the stage to what would later be termed the "golden age" of the American book musical of the 1950s and 60s. In early sound films, Mamoulian restored mobility to the camera, rediscovered montage, redefined close-ups, split-screen, and dissolves, invented the voice-over, and was first to use multitrack sound recording. He directed the first live-action Technicolor film, Becky Sharp (1935). Spergel introduces previously undisclosed personal documents about the Mamoulian that necessitate a re-examination of Mamoulian's own statements about his life. He shows that the central theme in Mamoulian's art and life, as he describes it to overcome the world and embrace truth extended to the telling of his own history. Mamoulian believed he could alter that history through stylized presentation, idealizing the truth, and thereby raising numerous questions about historiography in general.

The Cinema of Ettore Scola offers contemporary perspectives on Ettore Scola (1931-2016), one of the premier filmmakers of Italian cinema. Scola was a crucial figure in postwar Italy as a screenwriter of comedies in the 1950s and 1960s who later became one of the country's most beloved directors in the 1970s and 1980s with his bittersweet comedies and dramas on history, politics, and social customs. While Scola has received extensive attention from scholars based in Italy and France, Remi Lanzoni and Edward Bowen's edited volume is the first English-language book on Scola's cinematographic career. The volume (containing fourteen chapters) is organized in four parts, the first two of which focus both on Scola's contributions to Comedy Italian Style-as a screenwriter and director-and his commentaries on the history of Italy, Rome, and the film industry. The second half of the book is divided into sections on Scola's relationship to and use of place, politics, and legacy. Mariapia Comand's chapter begins the volume with an exploration of the development of Scola's narrative methods by examining his early work as an illustrator, ghostwriter, and screenwriter. Later, Brian Tholl approaches one of Scola's best-known and most frequently studied films, Una giornata particolare, from a less-explored perspective, namely its commentary on surveillance and internal exile, or confino, during the fascist period. At the close of the volume is a broad-sweeping tribute to and reflection on Scola's filmmaking by Gian Piero Brunetta, a leading historian of Italian cinema who developed a close relationship with Scola over the years, who reveals the varied narrative strategies linked to food that the director utilized for character development and social commentary. The Cinema of Ettore Scola makes Scola accessible to English-reading audiences and helps readers better understand his film style, the major themes of his work, and the representations of twentieth-century Italian history in his films.

Impressed by the success of The Birth of a Nation, Robert Goldstein, owner of a well-known Los Angeles costume supply house, produced his own epic film drama, The Spirit of '76 and screened it in Los Angeles shortly after America's entry into World War I. The film was denounced as anti-British and treasonous. Arrested under the Espionage Act, Goldstein became the first and only American jailed for the crime of producing a patriotic film. Film historian Tony Slide includes an introductory essay, reprints contemporary documentation, and publishes a 1927 manuscript by Goldstein, in which he fully documents the background to the film, its making, his arrest and trial, and his later suffering.

In this revelatory career-length biography, produced through many hours of interviews with Danny Boyle, he talks frankly about the secrets behind the opening ceremony of the London Olympic Games as well as the struggles, joys and incredible perseverance needed to direct such well-loved films as Trainspotting, Slumdog Millionaire, 28 Days Later and Shallow Grave. Throughout his career Danny Boyle has shown that he has an incredible knack of capturing the spirit of the times, be they the nineties drug scene, the aspirations of noughties Indian slum-dwellers or the things that make British people proud of their nation today, from the NHS to the internet. In 2012, Danny Boyle was the Artistic Director for the opening ceremony of the London Olympic Games. He has been awarded an Oscar, a Golden Globe Award and two BAFTA awards for directing such influential British films as Shallow Grave, Trainspotting, 28 Days Later, Sunshine and Slumdog Millionaire. He has worked alongside such actors as Cillian Murphy, Ewan McGregor, Christopher Eccleston, Kelly Macdonald, Dev Patel and Rose Byrne. In this in-depth biography, Amy Raphael captures the optimism and determination of a driven individual in full career flight.

Talking Movies is a collection of interviews with audacious and respected contemporary filmmakers. Selected directors represent figures whose work has defined how images are processed and appreciated by modern audiences. The book offers a truly international perspective, including global pioneers who frankly discuss their craft and the social, political, and technological forces that inform it: Laurent Cantet, Robert Gu?diguian, C?dric Kahn, and Bertrand Tavernier (France); David Gordon Green, Hal Hartley, and Richard Linklater (USA); Alejandro Gonz?lez I rritu and Carlos Reygadas (Mexico); Stephen Frears and Andrew K?tting (UK); Nuri Bilge Ceylan (Turkey); Atom Egoyan (Canada); Suzanne Bier (Denmark); Tran Anh Hung (Vietnam); Samira Makhmalbaf (Iran); Elia Suleiman (Palestine); and Lucrecia Martel (Argentina).

Michael Haneke is one of the most important directors working in Europe today, with films such as "Funny Games" (1997), "Code Unknown" (2000), and "Hidden" (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of "The Seventh Continent" (1989) and "Time of the Wolf" (2003) a dark strain of optimism emerges, releasing each from its terrible and inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of "The Piano Teacher" (2001), and the 2007 shot-for-shot remake of "Funny Games."

Expanded cinema: avant-garde moving image works that claim new territory for the cinematic, beyond the bounds of familiar filmmaking practices and the traditional theatrical exhibition space. First emerging in the 1960s amidst seismic shifts in the arts, multi-screen films, live cinematic performance, light art, kinetic art, video, and computer-generated imagery - all placed under expanded cinema's umbrella - re-emerged at the dawn of the 2000s, opening a vast new horizon of possibility for the moving image, and perhaps even heralding the end of cinema as we know it. Cinema Expanded: Avant-Garde Film in the Age of Intermedia offers a bold new account of its subject, breaking from previous studies and from larger trends in film and art scholarship. Author Jonathan Walley argues that expanded cinema's apparent departure from the traditions and forms of cinema as we know it actually radically asserts cinema's nature and artistic autonomy. Walley also resituates expanded cinema within the context of avant-garde film history, linking it to a mode of filmmaking that has historically investigated and challenged the nature and limits of cinematic form. As an outgrowth of this tradition, expanded cinema offered a means for filmmakers within the avant-garde, regardless of their differing styles, formal concerns, and politics, to stake out cinema's unique aesthetic terrain - its ontology, its independence, its identity. In addition to reconsidering the better-known expanded cinema works of the 1960s and 70s by artists like Andy Warhol, Robert Whitman, and Nam June Paik, Cinema Expanded also provides the first scholarly accounts of scores of lesser-known works across more than 50 years. Making new arguments about avant-garde cinema in general and its complex meditations on the nature of cinema, it urgently addresses current and crucial debates about the fate of the moving image amidst a digital age of near-constant technological change.